DOCSLIB.ORG

On Marshak's Russian Translation of Robert Burns Yang De-You

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Marshak's Russian Translation of Robert Burns Yang De-You Studies in Scottish Literature Volume 22 | Issue 1 Article 4 1987 On Marshak's Russian Translation of Robert Burns Yang De-you Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation De-you, Yang (1987) "On Marshak's Russian Translation of Robert Burns," Studies in Scottish Literature: Vol. 22: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol22/iss1/4 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Yang De-you On Marshak's Russian Translation of Robert Burns Problems concerning translation is one of the subjects in the studies of comparative literature. S.Y. Marshak's Russian translation of Robert Burns's poetry is well-known in the Soviet Union and to scholars of Burns in the Western countries. Soviet critics have almost unanimously agreed that his translation is the best, which has entered the treasure-house of poetry in the Russian language. This paper will propose some arguments about this statement in a detailed analysis of some of Burns's poems which he translated. Samuel Yakovlevich Marshak (1887-1964), Russian poet, writer of children's literature and translator, studied English language and literature at London University from 1912 till 1914. He published his first translations of William Blake, Wordsworth and English and Scottish ballads in 1915. His first translation from Burns was done in 1924, and for more than three decades he provided Soviet readers new translations from Burns each year. In volume four of his Selected Works (1960) there are additional "new translations" consisting of thirteen poems. The largest selection of his translations from Burns appeared in 1963 in two volumes with an introduction by R. Rait-Kovaleva and a postscript by M. Molozov. The collection consists of two parts, "Songs and Ballads" and "Epigrams," containing a total of 171 poems, about one fourth of the number of poems Burns wrote. Marshak's Burns Translation 11 Other editions of Marshak's translations from Burns which I have checked are: Robert Burns: a Selection (Moscow, 1947); introduction by M. Molozov -contains forty-two poems. Robert Burns: A Selection (Moscow, 1950); introduction by M. Molozov-contains ninety-four poems. Lyrics (Moscow. 1971); introduction by R. Rait-Kovaleva; notes by M. Molozov-contains eighty poems. It is interesting that the poems in all the above-mentioned editions are not arranged in chronological order. The 1947 edition begins with "John Barleycorn" followed by "Is there for Honest Poverty"; in 1950 and 1963 "Is there for Honest Poverty" is followed by "John Barleycorn." Generally the order of poems was determined in the 1947 edition. No poem in these Russian editions is marked with the year of its composition, and this information is mentioned only very occasionally in the notes. The reason for this order may lie in the general evaluation of Burns by Russian critics. Rait-Kovaleva says that Burns is close to all those, who love people, love their motherland and freedom. all those who defend peace and free labor. who struggle against the dark forces of war, slavery and hatred of mankind, which Burns struggled against in his immortal poetry) Though very general and oversimplified, this is typical of the method of literary criticism prevailing among Soviet critics, emphasizing the part literature plays in society, the relationship between literature and historical events, sometimes to the neglect of the aesthetical basis of an author's experiences found in their writings as well as the artistic value of a work of art. Because of the non-chronological order of the poems in these editions, one cannot trace the development of the author's mentality and skills in creating the poems. Marshak's theory of translation basically is revealed in his article "The Art of Poetical Portraiture:'2 Here are some passages I translated from the Russian text: Artistic translation is completely different, unimaginable without engaging the soul, without imagination, intuition-in a word. without anything indispensable for creation ....(p. 335-6) lSelections of Robert Burns. Trans. S. Marshak. 2 vols. (Moscow, 1963), I. 68. All translations from Russian are mine. 2Works. 4 vols. (Moscow. 1961). IV. 335-346. 12 Yang De-you Let this art be dermed with any term, if only both the translator and the reader could imagine in their integrity all the complications and difficulties of the mastery, whose mission is to reproduce, in another language, the innermost ideas, images, the fmest shades of feelings, which have already the maximum exact expression in the language of the original .... (p. 336) We understand that even the replacement of a single word with another in poems or in artistic prose will be essential. In translation, notably, it is not one word, but all the words which are to be replaced by others, which belong to another language system, different in its specific structure of speech, with innumerable whims and caprices ....(p. 336) It is necessary to feel profoundly the nature of the native language in order not to give in to foreign diction, not to be captured by it. At the same time, Russian translation from French should be considerably different in its style and coloring from Russian translation from English, Estonian or Chinese ....(p. 337) In translating poems one must understand what to sacrifice, if words of a foreign language turn out to be shorter than one's own .... (p. 337) The excellent tradition of the art of Russian translation has always been alien to dry and pedantic literalism .... (p. 337) Yet, if you attentively take the best from among our poetical translations, you will fmd out that all of them are children of love, not a marriage out of interests ... truly poetical translations should be built up, not fabricated Poems of outstanding poets are translated for readers who will not only get acquainted with the approximate content of their poetry, but also truly love for a long time .... (p. 337) Marshak's principles are certainly acceptable to translators of poetry, yet his principles can be understood and interpreted in many different ways due to the nature of his generalizations. The problem is to what degree one could use these principles in translation, and to what degree one should enjoy freedom in translating. The analysis of Marshak's own translation may throw some light on this issue. My comparative reading of Burns's poems in both English and Russian has made it possible for me to trace a part of Marshak's translation process and his method. Marshak's translations from Burns are, in a certain sense, highly successful. The Russian version of each of Burns's poems sounds beautifully rhythmical, natural in truly Russian phrases and expressions, free from any high-sounding words or cliches, though of course, most Russian words are multisyllabic, with complicated declension and conjugation endings and a surprisingly free word order, which presumably makes Russian poetical writing easier. It is necesary to compare translations to Burns's original works. Such comparison is justified since Marshak's versions must be highly readable, artistically beautiful and melodious. Russian readers must find them Marshak's Burns Translation 13 touching, familiar in their presentation; but, on the other hand, they must also retain their original features, for they are expressive of feelings, yearnings and emotions related to Scottish culture as a whole. How well Marshak succeeded in his translations will be examined in a representative selection of Bums's poems. Bums's text and a liteml translation of Marshak's are given, and my comments follow. Where necessary the word order of the translations has been altered to conform to English pmctice; occasionally a word has been added in bmckets for clarity. "JOHN BARLEYCORN" There are fifteen stanzas in Bums, fourteen in Russian; Marshak has omitted stanza ten. The reason for Marshak to omit this stanza is not clear. It is not likely that he left it out by mistake, for in the 1947, 1950 and 1963 editions the poems is always in fourteen stanzas. We can only try to seek for the reason of this omission. It is true that John Barleycorn has so far suffered a lot: he was cut "by the knee," "cudgell'd," "hung," "heaved" into "a darksome pit," each of the tortures being cruel. And here, in this stanza, he is "toss'd to and fro," which may be thought not bad enough, as in the following stanza 11, "they wasted the marrow of his bones," and "crush'd him between two stones," which is, of course a great suffering. Did Marshak think that only the worst maltreatments could expose how cruel and barbarian his oppressors were? Or that the detail in this stanza was not important enough to be rendered into Russian? Or that it sounds like mere repetition? Or that the Russian text is to him approximate enough in content to the original even without this stanza? The translator keeps silent about his omission. The rhyme of each stanza in the original is abab, octosyllabic iambic in odd lines and hexasyllabic iambic in even lines. The Russian version is presented exactly the same way. There was three kings into the east, Three kings he incensed, Three kings both great and high, And it was decided, And they hae sworn a solemn oath That forever [must) die John John Barleycorn should die. Barleycorn. They took a plough and plough' d Ordered to dig with a plough him down, A grave the kings, Put clods upon his head, That glorious John, a spirited fighter, And they hae sworn a solemn oath Not rise from the soil.
Load more

Recommended publications
  • Robert Ilson
    Robert Ilson Ilson Robert. Honorary Research Fellow of University College London, is a lexicographer and would-be poet. He has been Associate Director of the Survey of English Usage at UCL, Convenor of the AILA Commission on Lexicology and Lexicography, Founding Editor of the EURALEX Bulletin and the International Journal of Lexicography, and a member of the Editorial Board of OED2. A former Fulbright ELT consultant, he has also shared awards from the English-Speaking Union for BBI and for The Right Word at the Right Time; e-mail: [email protected] PLAIDOYER FOR A CROSS-CULTURAL STUDY OF PRESCRIPTIVISM В статье подробно рассматривается понятие “прескриптивизм”. Автор подчеркивает особую ценность исследования прескриптивизма в сопоставительном аспекте. Ключевые слова: прескриптивизм, языковая норма, сопоставительное языкознание. The article considers the notion of Prescriptivism. The author points to the potential value of an investigation of Prescriptivism not limited to the problems specific to a single language. Key words: Prescriptivism, standard language, comparative linguistics. I In this essay I shall be guided by the precept of my colleague John Ayto to be “descriptive about prescriptivism” and by the injunction of Professor Randolph, Lord Quirk, that those working at The Survey Of English Usage at University College London should study not only Use but also Reaction to Use. Which leaves me with the task of saying what Prescriptivism is. Prescriptivism is the study of What Should Be by contrast with Descriptivism, the study of What Actually Is. Prescriptivism springs eternal in the human breast. Some years ago Professor Suzanne Romaine of Oxford University gave in London a lecture about her work with pidgin and creole languages, and in particular the pidgin Tok Pisin of Papua New Guinea.
    [Show full text]
  • Poems from Postliberation South Africa. Ed Robert Berold. Scottsville: University of Natal Press, N.D
    Book Reviews It All Begins: Poems from Postliberation South Africa. Ed Robert Berold. Scottsville: University of Natal Press, n.d. R 149.95. This anthology is of poems first published in the journal New Coin, during the first ten years of Robert Berold’s editorship, 1989–1999. Berold says that he selected them then, as he selects them now, for the way they speak to him. I have not read New Coin. My knowledge of South African poetry comes from books rather than journals. This anthology thus introduced me to some poets I did not know, and I read the collection for what the subtitle promises: a poetic snapshot of the first decade after apartheid and a survey of the poetry of that time. The first thing to note about the anthology is its variety. There are eight thematic divisions, and while politics is everywhere, the subjects range from the land to sex to family to art. Explicit comment on national politics is lim- ited to one section that looks backward at the suffering under apartheid, and two sections that comment, usually with bitterness, on the present dispensa- tion. Disillusionment or at least challenge and scepticism remain a near con- stant. I was pleased to see translations from Xitsonga, Afrikaans, and Zulu. Vonani Bila combines several languages in his poem “Comrades, Don’t We Delude Ourselves?” Kelwyn Sole, himself represented in this anthology, says in the afterword that these poems should not be read as representative of something else but for their own sake. He rightly denounces any of the common stereotyped dis- tinctions between poets made on the basis of race.
    [Show full text]
  • ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
    ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation.
    [Show full text]
  • The Silver Tassie
    The Silver Tassie MY BONIE MARY An old Jacobite ballad rewritten by the Bard. A silver tassie is a silver goblet and the Ferry which is mentioned in the poem is Queensferry, now the site of the two bridges which span the Forth, a short distance from Edinburgh. Go fetch to me a pint 0' wine, And fill it in a silver tassie; That I may drink before I go, A service to my bonie lassie: The boat rocks at the Pier 0' Leith, Fu' loud the wind blaws frae the Ferry, The ship rides by the Berwick-Law, And I maun leave my bonie Mary. maun = must The trumpets sound, the banners fly The glittering spears are ranked ready, The shouts 0' war are heard afar, The battle closes deep and bloody. It's not the roar 0' sea or shore, Wad mak me longer wish to tarry; Nor shouts 0' war that's heard afar- It's leaving thee, my bonie Mary! Afion Water This is a particularly lovely piece which is always a great favourite when sung at any Bums gathering. It refers to the River Afion, a small river, whose beauty obviously greatly enchanted the Bard. Flow gently, sweet Afcon, among thy green braes! braes = banks Flow gently, I'll sing thee a song in thy praise! My Mary's asleep by thy murmuring stream - Flow gently, sweet Afton, disturb not her dream! Thou stock-dove whose echo resounds thro' the glen, stuck dm =a wood pipn Ye wild whistling blackbirds in yon thorny den, yon = yonder Thou green-crested lapwing, thy screaming forbear, I charge you, disturb not my slumbering Fair! How lofey, sweet Afion, thy neighbouring hills, Far markd with the courses of clear, winding
    [Show full text]
  • Robert J. Feitel
    Mr. Robert J. Feitel Robert J. Feitel was sworn in on May 27, 2020 by Chairman Kristine L. Svinicki as the third Inspector General in the NRC’s history. He was awarded his Bachelor of Arts degree in English Literature from the University of Michigan, Ann Arbor in 1987, and his Juris Doctor degree from the University of Maryland School of Law in 1990. During law school, Mr. Feitel clerked as a fellow for the Honorable Rosalyn B. Bell of the Court of Special Appeals of Maryland, and was appointed to the Moot Court board. Following law school, he served as a judicial law clerk to the Honorable Stephen M. Waldron, Circuit Court for Harford County, Maryland. In 1991, Mr. Feitel joined the law firm of Carr, Goodson and Lee, P.C. in Washington, D.C. as an Associate, where he focused on product liability defense and professional malpractice defense litigation. In 1995, he joined the Federal Bureau of Investigation, Office of the General Counsel, as an Assistant General Counsel, where he managed contract and tort litigation, legal forfeiture matters, and advised Chief Division Counsel for all FBI field offices nationwide. While at the FBI, he served as Acting Unit Chief of the Civil Litigation Unit. He also served as a Special Assistant U.S. Attorney for the U.S. Attorney’s Office, Eastern District of Virginia in 2001-2002. In late 2002, Mr. Feitel joined the U.S. Attorney’s Office for the District of Columbia as an Assistant U.S. Attorney, where he served with distinction in the Appellate, Misdemeanor, Felony Trial, Felony Sex Offense & Domestic Violence, and Homicide Sections of the Superior Court Division, and the Federal Major Crimes Section of the Criminal Division.
    [Show full text]
  • An Afternoon at the Proms 24 March 2018
    AN AFTERNOON AT THE PROMS 24 MARCH 2018 CONCERT PROGRAM MELBOURNE SIR ANDREW DAVIS TASMIN SYMPHONY LITTLE ORCHESTRA Courtesy B Ealovega Established in 1906, the Chief Conductor of the Tasmin Little has performed Melbourne Symphony Orchestra Melbourne Symphony Melbourne Symphony in prestigious venues Sir Andrew Davis conductor Orchestra (MSO) is an Orchestra, Sir Andrew such as Carnegie Hall, the arts leader and Australia’s Davis is also Music Director Concertgebouw, Barbican Tasmin Little violin longest-running professional and Principal Conductor of Centre and Suntory Hall. orchestra. Chief Conductor the Lyric Opera of Chicago. Her career encompasses Sir Andrew Davis has been He is Conductor Laureate performances, masterclasses, Elgar In London Town at the helm of MSO since of both the BBC Symphony workshops and community 2013. Engaging more than Orchestra and the Toronto outreach work. Vaughan Williams The Lark Ascending 3 million people each year, Symphony, where he has Already this year she has the MSO reaches a variety also been named interim Vaughan Williams English Folksong Suite appeared as soloist and of audiences through live Artistic Director until 2020. in recital around the UK. performances, recordings, Britten Young Person’s Guide to the Orchestra In a career spanning more Recordings include Elgar’s TV and radio broadcasts than 40 years he has Violin Concerto with Sir Wood Fantasia on British Sea Songs and live streaming. conducted virtually all the Andrew Davis and the Royal Elgar Pomp and Circumstance March No.1 Sir Andrew Davis gave his world’s major orchestras National Scottish Orchestra inaugural concerts as the and opera companies, and (Critic’s Choice Award in MSO’s Chief Conductor in at the major festivals.
    [Show full text]
  • How Robert Burns Captured America James M
    Studies in Scottish Literature Volume 30 | Issue 1 Article 25 1998 How Robert Burns Captured America James M. Montgomery Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Montgomery, James M. (1998) "How Robert Burns Captured America," Studies in Scottish Literature: Vol. 30: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol30/iss1/25 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. James M. Montgomery How Robert Burns Captured America Before America discovered Robert Bums, Robert Bums had discovered America. This self-described ploughman poet knew well the surge of freedom which dominated much of Europe and North America in the waning days of the eight­ eenth century. Bums understood the spirit and the politics of the fledgling United States. He studied the battles of both ideas and infantry. Check your knowledge of American history against Bums's. These few lines from his "Ballad on the American War" trace the Revolution from the Boston Tea Party, through the Colonists' invasion of Canada, the siege of Boston, the stalemated occupation of Philadelphia and New York, the battle of Saratoga, the southern campaign and Clinton's failure to support Cornwallis at Yorktown. Guilford, as in Guilford Court House, was the family name of Prime Minister Lord North. When Guilford good our Pilot stood, An' did our hellim thraw, man, Ae night, at tea, began a plea, Within America, man: Then up they gat to the maskin-pat, And in the sea did jaw, man; An' did nae less, in full Congress, Than quite refuse our law, man.
    [Show full text]
  • South Africa in the Global Imaginary: an Introduction
    South Africa in the Global Imaginary: An Introduction Leon de Kock English, South Africa 1. The Elements in Play What I want to write about is the penetration, expansion, skir- mishing, coupling, mixing, separation, regrouping of peoples and cultures—the glorious bastardisation of men and women mutually shaped by sky and rain and wind and soil....Andeverywhereis exile; we tend to forget that now. The old ground disappears, ex- propriated by blood as new conflicting patterns emerge. Breyten Breytenbach, Dog Heart, Introductions to South African literary culture conceived as an entity have a peculiar trademark: They apologize for attempting to do the impossible 1 and then go ahead anyway. This gesture, ranging from rhetorical genu- flection to anxious self-examination to searing critique of others who have dared to undertake what should not be attempted lightly, reveals a signifi- cant fault line in the field of South African literary studies, although field is a problematic metaphor here, like almost every other metaphor one cares to use. Literary ‘‘fields’’—entities, groupings—require some reason other than the mere convenience of geography for their existence: they need mini- mal convergence in the domains of origin, language, culture, history, and nationalism (contested or not) to become, in some sense, cohesive and inter- referential. But in the South African case each of these domains fragments . See, for example, Gray (: ); Van Wyk Smith (: i–iii); Chapman (: xx); Wade (: –); and Jolly and Attridge (: ). Poetics Today : (Summer ). Copyright © by the Porter Institute for Poetics and Semiotics. Downloaded from http://read.dukeupress.edu/poetics-today/article-pdf/22/2/263/458140/22.2de_kock01.pdf by guest on 25 September 2021 264 Poetics Today 22:2 into heterogeneity the moment one looks more closely at the literary ob- jects at hand.
    [Show full text]
  • Machine Translation for Dravidian Languages Using Stacked Long Short Term Memory
    MUCS@ - Machine Translation for Dravidian Languages using Stacked Long Short Term Memory Asha Hegde Ibrahim Gashaw H. L. Shashirekha Dept of Computer Science Dept of Computer Science Dept of Computer Science Mangalore University Mangalore University Mangalore University [email protected] [email protected] [email protected] Abstract are small literary languages. All these languages except Kodava have their own script. Further, these The Dravidian language family is one of 1 the largest language families in the world. languages consists of 80 different dialects namely In spite of its uniqueness, Dravidian lan- Brahui, Kurukh, Malto, Kui, Kuvi, etc. Dravid- guages have gained very less attention due ian Languages are mainly spoken in southern In- to scarcity of resources to conduct language dia, Sri Lanka, some parts of Pakistan and Nepal technology tasks such as translation, Parts- by over 222 million people (Hammarstrom¨ et al., of-Speech tagging, Word Sense Disambigua- 2017). It is thought that Dravidian languages are tion etc. In this paper, we, team MUCS, native to the Indian subcontinent and were origi- describe sequence-to-sequence stacked Long nally spread throughout India1. Tamil have been Short Term Memory (LSTM) based Neural Machine Translation (NMT) models submit- distributed to Burma, Indonesia, Malaysia, Fiji, ted to “Machine Translation in Dravidian lan- Madagascar, Mauritius, Guyana, Martinique and guages”, a shared task organized by EACL- Trinidad through trade and emigration. With over 2021. The NMT models are applied for trans- two million speakers, primarily in Pakistan and two lation using English-Tamil, English-Telugu, million speakers in Afghanistan, Brahui is the only English-Malayalam and Tamil-Telugu corpora Dravidian language spoken entirely outside India provided by the organizers.
    [Show full text]
  • Semi-Auxiliary Busy in South African English
    University of Pennsylvania Working Papers in Linguistics Volume 6 Issue 2 Selected Papers from NWAV 27 Article 6 1999 Syntactic change in progress: Semi-auxiliary busy in South African English. Rajend Mesthrie Follow this and additional works at: https://repository.upenn.edu/pwpl Recommended Citation Mesthrie, Rajend (1999) "Syntactic change in progress: Semi-auxiliary busy in South African English.," University of Pennsylvania Working Papers in Linguistics: Vol. 6 : Iss. 2 , Article 6. Available at: https://repository.upenn.edu/pwpl/vol6/iss2/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/pwpl/vol6/iss2/6 For more information, please contact [email protected]. Syntactic change in progress: Semi-auxiliary busy in South African English. This working paper is available in University of Pennsylvania Working Papers in Linguistics: https://repository.upenn.edu/pwpl/vol6/iss2/6 Syntactic Change in Progress: Semi-Auxiliary busy in South African English 1 Rajend Mesthrie "I'm busy going crazy." Harassed graduate student of Linguistics, University of Cape Town. 1 Introduction A prominent lexico-grammatical element in South African English (henceforth SAE) is busy, used together with the usual be + -ing of standard English to mark ongoing activity. Its existence on the borderline of lexis and grammar can be seen from its being just about the only grammatical marker to have an entry in the Dictionary of South African English on Historical Principles (DOSAEHP). The entry in the earlier fourth edition of the Dictionary of South African English (DOSAE) is as follows (edited slightly for illustrative purposes): busy adj. substandard. Used redundantly in SAE with an -ing form of certain forms to indicate progressive, signifying "engaged in" or equivalent.
    [Show full text]
  • Robert Burns and a Red Red Rose Xiaozhen Liu North China Electric Power University (Baoding), Hebei 071000, China
    Advances in Social Science, Education and Humanities Research, volume 311 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019) Robert Burns and A Red Red Rose Xiaozhen Liu North China Electric Power University (Baoding), Hebei 071000, China. [email protected] Abstract. Robert Burns is a well-known Scottish poet and his poem A Red Red Rose prevails all over the world. This essay will first make a brief introduction of Robert Burns and make an analysis of A Red Red Rose in the aspects of language, imagery and rhetoric. Keywords: Robert Burns; A Red Red Rose; language; imagery; rhetoric. 1. Robert Burns’ Life Experience Robert Burns (25 January 1759 – 21 July 1796) is a Scottish poet and lyricist. He is one of the most famous poets of Scotland and is widely regarded as a Scottish national poet. Being considered as a pioneer of the Romantic Movement, Robert Burns became a great source of inspiration to the founders of both liberalism and socialism after his death. Most of his world-renowned works are written in a Scots dialect. And in the meantime, he produced a lot of poems in English. He was born in a peasant’s clay-built cottage, south of Ayr, in Alloway, South Ayrshire, Scotland in 1759 His father, William Burnes (1721–1784), is a self-educated tenant farmer from Dunnottar in the Mearns, and his mother, Agnes Broun (1732–1820), is the daughter of a Kirkoswald tenant farmer. Despite the poor soil and a heavy rent, his father still devoted his whole life to plough the land to support the whole family’s livelihood.
    [Show full text]
  • UNITED STATES DISTRICT COURT for the District of &ROXPELD
    Case 2:21-mj-01240-CRE Document 1 Filed 06/11/21 Page 1 of 1 AO 442 (Rev. 11/11) Arrest Warrant UNITED STATES DISTRICT COURT for the District of &ROXPELD United States of America v. ) ) Case No. Robert Morss ) ) ) ) Defendant ARREST WARRANT To: Any authorized law enforcement officer YOU ARE COMMANDED to arrest and bring before a United States magistrate judge without unnecessary delay (name of person to be arrested) Robert Morss , who is accused of an offense or violation based on the following document filed with the court: u Indictment u Superseding Indictment u Information u Superseding Information ;u Complaint u Probation Violation Petition u Supervised Release Violation Petition u Violation Notice u Order of the Court This offense is briefly described as follows: 18 U.S.C. § 111, 2 - Assaulting, Resisting, or Impeding Certain Officers or Employees; 18 U.S.C. § 231(a)(3) - Civil Disorder; 18 U.S.C. § 2112 - Robbery of Personal Property of the United States; 18 U.S.C. § 1512(c)(2) - Obstruction of Official Proceeding. 2021.06.10 13:53:17 -04'00' Date: 06//2021 Issuing officer’s signature City and state: :DVKLQJWRQ '& Robin M. Meriweather, U.S. Magistrate Judge Printed name and title Return This warrant was received on (date) , and the person was arrested on (date) at (city and state) . Date: Arresting officer’s signature Printed name and title Case 2:21-mj-01240-CRE Document 1-2 Filed 06/11/21 Page 1 of 28 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA UNITED STATES OF AMERICA : : v.
    [Show full text]